Theoretical And Practical Approach To Theatre Making Theatre Essay

Theoretical And Practical Approach To dramatic art Making Theatre EssayThis gather uncovers some(prenominal) the physiological and scientific actions behind the presentation of the articulatio. As an performer, arena practitioner or theorist, we frame awargon that the presentation of communication is not a mere tycoon to speak, but an action from a complex organ which is dance up with our emotions and understanding which directs our physiological reflexes. For Linklater, the aiming of emotion moldinessiness mean the emotional introduce of emotion since our someonea is powered by our very breath. Breath is chemically and physically linked to the probosciss capacity and state of serenity. The natural relaxed articulate dos when the organic structure is harmonious, relaxed and warm but any element of stress, excitement distraction mint ca exercise breath influxes which create tension and resonance which creates a sensitive tone and inflection. (Linklater, 1976)Link laters next piece continues that communication with the voice is not constantly the conveying of speech. However, in Western theatre it is recognised that speech and wrangle is a primary form of expression. The voice and the actor must and then live one. Both must be in their neutral state but not joined as they are in the actors kind life but rejoined, both neutral and aligned to negotiate the impudently adornment of character in which to convey new expression. In this sense the actors declare protrudery behind their speech must be put forth and a new imagery must come from the character, this must occur organically, finished exercises and victimisation. Only here loafer the actor and their voice become unique and offhanded in their role.Furthermore the learning of lines must be absorbed into the heart creating an understanding mingled with the actor and their role. The actor must know more than the character in order to respond instinctively and naturally verbally w ithin the action. (Linklater, 2006)Berry Vocal DevelopmentIn this chapter Berry focuses on the theory behind the vocal exercises he developed. These exercises care to convey how Linklaters radicals can be worked. For Berry the voice of the actor must be separated from the voice of the soulfulness and preconceived ideas. The way the soulfulness communicates, their take in anxieties and tensions must be removed in order to stretch bug out full vocal potential. Berry laments that one can only scram the best vocally if exercises are partaken. There are three stages of development for Berry. The first is relaxation and breathing. In this stage the actor develops the ability for vocal power by increasing the use of the lips and tongue. The second stage is the natural covering of this to the actors role. They must be aware that their own vocal inhibitions are bound up with their acting voice, and that what they hear is not what the audience hears. Relying on their own voice would lead to a predictable style of acting, sooner the actor must use these exercise to free the voice and allow the emotion of the role to become one with the voice, preventing the need for predictable pushing out and expression of emotions. lastly the third stage is the belief in both the exercises and an understanding of the second stage to create vocal freedom. The development of the voice through these three stages of exercises will create a new freedom, allowing the voice to respond instinctively to the action, beyond thought and technicality of the actors thoughts, but instead naturally and freely. (Berry, 1978)Lecoq The Art of MimeContrary to mimes generic image of uncommunicative and silent expression, Lecoqs writings on mime express the important of the voice and indeed the concepts of freedom in movement and vocal as discussed above. basically Lecoq rejects the notion of mime being the expression of words without sound. The clichd image of the mime, with exaggerated movemen ts and facial expression, Lecoq would suggest fails to convey the practice of mime and its on- constitute art form. Mime in its simplest form is the idea of imitation. Here we can understand the art of dramatic mime that Lecoq discusses. This is origin of a agency situation with the dead body, often involving the impersonation of peoples. Such artists create the illusion of the person they mimic, vocally, in body and action. Their art lies in the ability to be this person in alternate scenarios. The actor must feel the movement, gestures and emotions as if they are their own, only the theatrics occurs when the addition of the actors true self is added, their ownership of the movements produces the essence of mimicry. emblematic mime requires the actor to partake in absolute mime, creating the environment and scuttle the audiences imagination. This requires a consistency of action, an understanding of the weight, placement and true abilities of the objects in the illusion. Finall y there is the use of plastic mime, the use of the body as a language perhaps used with the constraints of face clothes. The body must convey the story whilst the face illuminates the emotion. Lecoq theories a system for conveying mime through exercises designed to able the body. However, Lecoq laments that this system of exercises once used must be discarded of a true and spontaneous performance is to be conveyed. The body moves spontaneously, with reflective action and the system of exercises must not prevent this. entirely rhythm is organic and no two rhythms are the same and this is key to the creation of the art of mime. (Lecoq, 2006)Jos Houben The Neutral MaskOnce again this piece focuses on the freedom of expression necessary in acting. Through clothe work, Shrubsall speaks of Houbens techniques, as inspired by Mosho Feldenkrais and Jacques Lecoq. The ability to separate and un-clutter ones own psychological science which lays behind all our human movement, readying the bo dy for meaningful spontaneous movement using techniques such as understanding the relationship between different parts of the body and their related movements. This is conveyed in the important of the masquerade in acting. The mask will only exist if there is a connection between the actor and the mask. They must become the mask. When the actor looks to the sky, the mask must convey this use of sight, his head expressing the movement and his back and shoulders responding as such. This piece is about the use of organic and functional movement, free from judgement and prior interpretation. (Shrubsall, 2002)Murray Practical ExercisesIn this chapter Murray attempts to produce a series of exercises in which to share the experience of Lecoqs theatre and understanding how to prepare ones body for theatre as expressed by Lecoq. Murray defines the fundamental principles behind Lecoqs theories and hence his exercises. It is the idea that essentially movement provokes emotion and the body re members this. This chapter focuses mainly on the precept of these actual exercises rather than the theory behind but considers most in general the bodys relationship between push and pull, balance and imbalance in the creation of Lecoqs work on tragedy, melodrama the neural mask and commedia delarte. (Murray, 2003)ConclusionThere is a theme within these readings, that of body and movement in space and condemnation incorporating ideas of freedom without influence. In order to grasp this freedom the readings suggest that the use of exercises is of prime importance for the natural, free vocal and bodied actor. The muscles of the mind and body must be warm and content in order to circulate up the actors full potential. There is the suggestion that acting without such term is meaningless and insincere. That to act is to be free from our human constraints.